Perfect Granny Square Crochet Pattern

Learn how to create a seam free, single sided Crochet Granny square for perfect results every time.

The humble Granny Square is the crochet staple of Nanna's everywhere, which is how it came to be known as a 'Granny Square'. Originally it was just called a crochet square.

The Granny Square is often the very first thing we are taught when learning to crochet, so it would follow that it would be simple to have a perfect square every time and those new to crochet often get discouraged when this is not the case.

However, to get a perfect square actually requires a bit of experience, good fundamentals and advanced row starting techniques, otherwise you are left with seams, the reverse side of stitches showing every second row or even a slight spiral effect.

This granny square is made without turning your work and has a right and a wrong side.

Cuera and Saya - Nib fronted bodice and skirt

My current costume project is inspired by Pflazagrafin Dorothea Maria Von Sulzbach's gown c1639 as seen in 'Patterns of Fashion The cut and construction of clothes for men and women c1560-1620' by Janet Arnold (PoF).  The gown is housed at the Bayerisches Nationalmuseum, Munich.

Pflazagrafin Dorothea Maria Von Sulzbach's gown c1639  image 340 PoF pg. 48  The gown is housed at the Bayerisches Nationalmuseum, Munich.

'Tailors Pattern Book 1589' by Juan De Alcega translated to English by Jean Pain & Cecilia Bainton (Alcega) has patterns that are very similar to this gown.  In the Main Notes which can be found at the rear of the book an explanation is given about the difference between a 'Cuera' (main note 36) and 'Sayuelo' (main note 38). Although the cut is basically the same, the 'curea' is an inner garment and the 'sayeulo' is an outer garment. Patterns for 'cuera' also include 'saya', an open fronted petticoat.

Janet Arnold (JA) notes that 'the centre front appears to have been open originally but is now stitched down', which is in keeping with Alcega's curea and saya patterns. JA states that 'Like most elderly people Dorothea Maria probably continued to wear styles which she had worn in middle age and in which she felt comfortable.' This time frame would mean that Dorothea Maria was 30 when Alcega published his pattern book.

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